He decided to be born in the form of two Birmingham lads called Tony Iommi and Ozzy Osbourne. The rest is the triumph of the dark forces in rock music. The unending journey into the deeper layers of the macabre until February 4, 2017, when Black Sabbath decided to have their last ever live concert in Birmingham, from where it all started in 1968, was a mere 49 years ago.
For millions of Sabbath fans around the world, this must have been a day of ambivalence. Surely, this cannot be the end.
But as far as the pre-concert publicity goes, this is the final time when the children of the grave came out on stage to turn the people completely paranoid.
Unlike the extreme days of the 70s, Ozzy did not bite off the head of a dead bat on stage or have a large pentagram on the floor with the lights dimmed to create the aura of something ominous, supported by Iommi’s plaintive guitar riffs.
Reportedly, Tony Iommi who was diagnosed with cancer a few years ago, is physically not fit for exhaustive tours despite the ailment currently in remission.
So, this is Black Sabbath, the pioneers of heavy metal, saying goodbye? Or is it just another “devilish” stunt?
Whatever the case, Sabbath was at the heart of the music movement that created not only a new genre, but also triggered ferocious moral questions within the society regarding their dark style of music which many denounced as sheer heresy.
In fact, as we look at the glorious history of the band and the type of unique sound it gave us, it has to be admitted that unless Sabbath had incorporated themes of underground forces, voodoo, witches, and Satanism, heavy metal would not have developed as a rebellious, norm-defying genre.
In Bangladesh, in the late 70s, heavy metal was still an unknown arena. Music had to be melodious, not harsh, and certainly not with lyrics that threatened conventional ideas. But once Sabbath albums became available, the fan base grew
The credit for this new kind of sound goes also to the unorthodox teen counter-culture of the late 60s which challenged everything that represented conventional (read: Staid) existence. That incendiary credo tore down many practices restricting human behaviour.
Good or bad is a tedious question and not for us to discuss, but it happened and on that all-consuming wave, taboo areas were explored -- alternative religions, devotion to spiritual gurus in search of nirvana and for musicians, a dip into the underworld to invoke the forces of darkness as an inspiration.
Sabbath’s first album is just that -- a blues-rock presentation with very haunting undertones with the subtle hint of the rise of the Devil, the fallen angel.
Obviously, the young loved it. This was a refreshing change from the candy floss romance-based rock songs of the era. The repercussions were severe too. Sabbath members dabbled in all sorts of banned substances with Ozzy often coming to stage too stoned to perform.
Besotted fans copied their icons, sometimes with deplorable consequences. Sabbath wanted to stretch the limit of sanity and they did it with diabolical results.
People say it was Sabbath who started it all but I would say, the credit also belongs to Uriah Heep, another psychedelic rock metal band which hit the market with songs replete with references to ancient wizards, warlocks, and lost magic kingdoms.
Sabbath brought out a very lethargic but addictive sound, with the trademark Iommi riffs, supported by Ozzy’s piercing wails -- this music was not for ones looking for melodious music.
Either you liked it or you didn’t.
Thankfully, music lovers, dying for something different, became obsessed. With the rise in popularity, the inclusion of references from the underworld increased. Reportedly, in one of the early 70s concerts, Ozzy performed a Devil-invoking ritual on-stage and, on that day, during the show, a side of the gallery caved in.
In the West, Black Sabbath was vociferously denounced as Devil-worshippers, their albums smashed, not burned, lest the fumes indoctrinated puritan minds, and priests regularly issued sermons against the band. Featuring the Devil, death, skeletons, and mystical figures on the cover was regarded the cardinal rule, with the Heaven and Hell album showing angels smoking cigarettes on the cover.
By the way, it was not always about Ozzy Osbourne. Sabbath let go of him in the late 70s and took in Ronnie James Dio for their succeeding work: Heaven and Hell and Mob Rules. Two spectacular albums showcasing Dio’s versatility.
Then Sabbath took in Ian Gillan, ushering the Purple Sabbath years following with Glen Hughes bringing in a husky 80s sound with the “Eternal Idol,” “Headless Cross,” and TYR. No matter who came as the vocal, Sabbath never lost its fascination with the occult.
In Bangladesh, in the late 70s, heavy metal was still an unknown arena. Music had to be melodious, not harsh, and certainly not with lyrics that threatened conventional ideas. But once Sabbath albums became available, the fan base grew. A lot of the credit goes to Kabir Bhai of recording studio Rainbow, who was not only a social rebel himself, but also took it upon himself to raise the profile of Black Sabbath.
His line still resonates: “If you haven’t listened to ‘We Sold Our Soul for Rock and Roll,’ then you’d better give up music.”
In 1986, Rock Strata was perhaps the first band to cover “Paranoid” on-stage in Dhaka.
Parents were obviously not happy with their children listening to albums laced with doom and gloom, Armageddon, and death. One of our St Joseph buddies even had a sort of exorcising ritual at home done by his Arabic teacher at the behest of the parents.
It didn’t help. The guy was impervious to all efforts to cleanse him of heavy metal. Eventually, after sparkling SSC results, he gave the teacher a Twisted Sister album.
By the 90s, much of the underground allusions were regarded as a stunt with the sinister aura deemed as pure fun. No wonder, when Ozzy and Iommi exhorted the crowd present at the Buckingham Palace garden in 2002 to go wild with the number “Paranoid” for the Golden Jubilee party for the Queen, Prince Charles and his sons were visibly delighted.
With the prince of darkness on stage, maybe the Queen also took a furtive peek from her room.
So, is it really the end? 49 years, but why not make it a round figure to 50? The band says it’s over but then, there’s always the chance of rising from the grave. Maybe, another time: Let death wait, there’s still time for Sabbath.
Towheed Feroze is a journalist working in the development sector.